Eye Knew New: Navigating world views in panorama. Joe Citizen, 2014 - - PowerPoint PPT Presentation
Eye Knew New: Navigating world views in panorama. Joe Citizen, 2014 Interactive 360 video Frequently positioned as new or innovative, but is this really the Nukyala at Fairfield skate bowl case? What might it mean for
Navigating world views in panorama.
Joe Citizen, 2014
‘innovative’, but is this really the case?
practice in Aotearoa / New Zealand?
technologies negotiate contemporary representational concerns?
Nukyala at Fairfield skate bowl
Citizen and Jason Long that uses interactive 360° video to document contemporary creative practices in Hamilton, New Zealand.
technologies to help reveal the interconnecting links between practitioners.
performative modes to help inform documentary production.
exploring the codes and conventions of haptic- audio-visual immersive interactivity, that I have been researching since 2010
Kent Macpherson at Media Arts, Wintec
with practice to inform my understanding of theory as part of a “feedback loop between speculation and experimentation” (Brown & Sorensen, in Smith & Dean, 2009)
word-of-mouth and social media, followed up by phone conversation and email correspondence.
Black Sheep dance at Joe Citizen’s studio
documented, but tended towards either fine arts or performance based arts.
collaborative based practitioners.
people became interested as it progressed.
groups.
were included in final work, for a variety
Zena Elliott in her studio
scene, to act as these links?
creation of documentary representation.
practitioners to be revealed.
Online access allowed potential participants to see concept BYOB / Draw Inc event at Media Arts, Wintec
http://www.waikatoindependent.co.nz/2014/05/interactive-hip- hop-video-to-premiere-at-wintec/18219/
Image courtesy of Draw Inc.
became increasingly aware of my own role as an active participant – as a common connection between participants, and as a creative practitioner.
participating in some of the documentary performances.
Pink Bats play at Riverbank Mall
identify who or what informed their practice, this was not something they typically considered when thinking about their own self representation.
360° video tended to
thoughts about being symbolically linked to others.
engage with the possibilities of symbolically linking to others, it became increasingly apparent that an alternative strategy was required.
were being filmed within Hamilton’s Central Business District, this geography became an organising structure.
considered in relation to the socio-cultural concerns of their times. (Bruno 2010, Grau 2003 and 2006, Griffiths 2008, Kenderdine 2007)
Free Lunch Street Theatre agency
scope, and for innovation through technology.” (Laurillard, 2002)
tech ‘knowledge based economy’ of perpetual innovation has been elevated into a guiding principle and salvationary strategy for advanced capitalist economies.” (Reynolds & Szerszynski, in Pellizzoni & Ylönen, 2012)
marry “specialised cultural creativity in industrialised form.” (Bilton & Cummings, 2014)
innovation within an industry context is predicated on how useful something is, and not all creativity is useful to industry. (Bilton & Cummings, 2014)
‘More, for less’ + industry alignment + ‘new’ = ‘off the shelf’ + novel combinations. Innovation on an academic shoestring – the equation
leaders; pioneers; visionary; at the forefront; at the leading edge; able to deliver ‘out of the box’ solutions; provide ‘innovative delivery’; using a ‘special’ camera; and ‘first.’
since 2010, but both users and participants consider it ‘new’. (Unmet before = new).
Joe Citizen as reported by the Waikato Independent
technology with my contribution i.e. exclamations of how amazing it is referring to 360° viewing and thinking that I was responsible for this.
consider this media to be ‘new’.
media to be ‘new’ e.g. “a new type of music video”, “a new type of interactive video”, or, “a new type of dance film.”
Team Kill and friends
as far as the classical world, and it now reappears in the immersion strategies of present day virtual art.” (Grau, 2003, p.5)
R.G. Shaw in his studio
mistaken for something else e.g. “Is that a laser light?” and “Are you going to have a party?”
typically, the general public tend to ignore the camera.
Free Lunch Street Theatre agency
Interaction with the image can occur because the image is subject to modularity, automation, variability, and transcoding. (Manovich, 2001)
(Kluszczynski, in Grau, 2007, p. 210)
interaction means different things to different people.
some people footage used was one continuous shot – therefore this would create a more ‘true’ representation. Typically, these people came from a fine arts background.
‘extraordinary’ ability for others however – less interest in ‘true’ and more on public image. Typically, these people came from a performance based background.
Free Lunch & Revolutionary Acts
built into the mise-en-scene.
about ‘accuracy’.
link to others.
without usual narrative concerns (e.g. characterisation, plot etc.)
Team Kill and friends
The Waikato River
began to consider possible implications – surveillance, privacy etc.
in public more than normal – particularly when people not really aware they are being filmed, even when they are told that this is the case.
Free Lunch Street Theatre agency
existing technologies such as facial recognition, movement tracking, Global Positioning System co-ordinates, preferentiality, and database cross-referencing, has potentially immense implications:
R.G. Shaw in his studio
to rove around the spherical image space.
experienced through conventional perspective schemes, so that the user becomes part of the scene and not separate to it.
such as Lucid recreate the frame as a means to navigate the sphere.
Image courtesy of Luke McConnell
Objects towards infinity appear smaller than standard lenses.
logarithmically.
sky/ ceiling.
less distance is required to ‘see’ the whole body. Can be countered by placing camera near floor, but camera appears more ‘toy-like’ to passers-by.
who endlessly recreates it when they navigate the sphere.
Image courtesy of Luke McConnell
evidence.
that seek to hide the means of production.
Revolutionary Acts
Jo Williams at Riverbank Mall
video offers images that are navigable through haptic visuality (Verhoeff, 2012) i.e. physical movement is used to navigate both hyperlinked and panoramic visual scenes.
choose to view the work differently each time.
‘navigate’ representational relationships: Image as behaviour.
focus from texts or objects to relations, practices and processes.” (Verhoeff, 2012)
The Waikato River
becomes apparent, as users seek to look around ‘themselves’.
ability to move around, and typically users want to engage with a work more than once.
track a moving person or object.
enjoyment of moving e.g. spinning in circles.
Nukyala at Fairfield skate bowl
movement, and therefore considered less interesting.
group considered a reshoot.
more interesting than non-circular movements.
Karl Bayley at Pilot gallery
embedded in the mise-en-scene, can engage in symbolic movement between scenes.
space, can exist for a defined amount of time, and can be made to move to follow a moving person or object.
traverse multiple scenes, in a rhizomatic manner.
are therefore engaged in participatory montage.
Black Sheep dance at Joe Citizen’s studio
user choice through physical movement.
determined by maker, therefore preferred meanings are renegotiated.
associative meanings is negotiated through behaviour, not mental contemplation.
refer to other domains e.g. videogames, genres, interpellation etc.
Zena Elliott in her studio
Te Kōpū Mania o Kirikiriroa marae
http://student.mediarts.net.nz/lucid/
the subject-object distance affect perceptions of a Cartesian nature-culture divide?
argues, that Cartesian discourse “imposes a distinctly Western framework upon Māori ways of knowing”; what might be the implications of this type
inform the use of this media technology?
Te Kōpū Mania o Kirikiriroa marae
rituals of encounter (e.g. tikanga of a pōwhiri) by selectively accessing scenes after specific actions / navigations have occurred.
participatory aspects of this media be used to introduce mataūranga Māori through interlinked content? (e.g. waiata, korero, links via whakairo etc.)
concepts, through participatory montage.
Te Kōpū Mania o Kirikiriroa marae
filming techniques, due to potential of unintended recording.
suit representation of tīpuna. (Although kiosk software can limit access to user groups).
unused footage.
customised to emphasise different aspects.
Te Kōpū Mania o Kirikiriroa marae
Pink Bats play at Riverbank Mall
Joe Citizen in his studio
encountered it before.
Bilton, C., & Cummings, S., (Eds.). (2014). Handbook of management and creativity. Cheltenham: Edward Elgar Publishing. Bruno, G. (2010). Motion and emotion: Film and haptic space. In Revista Eco-Pos. Volume 13, n. 2 Retrieved June 14, 2011, from Da Universidade Federal Do Rio De Janeiro: http://www.pos.eco.ufrj.br/ojs- 2.2.2/index.php?journal=revista&page=article&op=viewFile&path%5B%5D=3 73&path%5B%5D=376 Grau, O. (2003). Virtual art: From illusion to immersion. Cambridge: Massachusetts Institute of Technology. Grau, O. (Ed.). (2007). Media art histories. Cambridge: Massachusetts Institute of Technology. Griffiths, A., (2008). Shivers down your spine: Cinema, museums, and the immersive view. New York: Columbia University Press. Keenan, D., (Ed.). (2012). Huia histories of māori. Wellington: Huia Publishers. Kenderdine, S., & Cameron, F., (Eds.). (2007). Theorizing digital cultural heritage: A critical discourse. Cambridge: Massachusetts Institute of Technology. Laurillard, D. (2002). Rethinking university teaching: A conversational framework for the effective use of learning
Manovich, L., (2001). Language of new media. Cambridge: Massachusetts Institute of Technology. Pellizzoni, L., & Ylönen, M., (Eds.). (2012). Theory, technology and society: Neoliberalism and technoscience: Critical
http://site.ebrary.com/lib/wintec/docDetail.action?docID=10583427&p00=pellizzoni%20yl%C3%B6nen Verhoeff, N. (2012). Mobile screens: The visual regime of navigation. Amsterdam: Amsterdam University Press.